Not too sure what you mean. Could you explain that please?
I think it's the negative connotations associated with materialistic that's throwing me off.
Well to take the most obvious example, Grizzly Man
is a film where Timothy Treadwell tries to use nature as his Romantic playground until he is killed, after which Herzog explains that Treadwell was a fool who over-interpreted what Herzog views as the beautiful but ultimately uncaring harshness of nature. The Romantics were all about ascribing human qualities to nature. In the scene where he says that he sees nothing but base urges in the eyes of the bear that Treadwell interpreted in a human way, Herzog is being explicitly anti-Romantic.
Which is why 2001 fits so perfectly with what I want to write about; especially the stargate sequence and the appearance of the monolith. It is a prime example of something truly wonderful, but as much as it brings wonder, it causes an equal (if not greater) amount of terror. It is true that there is certain distance between man and nature in 2001, as the film is all about technology and how man depends more and more on it. But then again, so was much of the work of Blake; he was also terrified by the overwhelming approach of technology and industry and he wrote really scary stuff about it.
I see what you are getting at and I think it could be a great thesis so long as you frame it as different interpretations of the Sublime that vary away from Romantic notions. Yeah, Blake wrote scary stuff about technology, but key to his being a Romantic is his belief that technology and nature were opposing forces. The reason why this doesn't follow to Kubrick for me is because Kubrick saw technology as an outgrowth of nature and the key distinction for him is not nature vs technology but material vs mental. In 2001, nature has set humans in a rough place, and they need artificial technology to escape it. Once they escape nature and live in a totally artificial environment they discover that there are still unpredictable problems with it like HAL, which they escape through transcending to a purely mental state; the entirety of the material world and its trappings, both natural and artificial, are left behind. These notions could not be more off-putting to a Romantic. For the Romantic the spiritual zenith is placed in
the wholly natural world. For the Kubrick of 2001 (a Gnostic) the spiritual zenith is placed decidedly above
the world on a wholly mental/spiritual plane.